MARCH 10, 2026 — Canadian alt-folk artist Cat Clyde returns today with "My Love," a final single to preview her new album, Mud Blood Bone, which is out this Friday, March 13, via Concord Records. Under the Radar says, "'My Love' is a cover of a 1960 Marty Robbins track, melding the swaying country western croon of Robbins’ original with Clyde’s swirl of blues, folk, and rockabilly. Clyde lends the track a cavernous sense of scale, layering sweeping instrumentation on top of its loping acoustic chords and lyrical tributes to the beauty of the natural world. Meanwhile, Clyde’s vocals move and howl like a piercing wind, settling into a low simmer with the verses before launching to impassioned heights on the chorus. The resulting track finds the meaning and wonder in the smallest details of the world around us: The call of the night bird / I love every trill / There’s peace and contentment / When everything’s still / The wail of the coyote / The flight of the dove / It’s all creation / And that’s what I love."
Of her rendition of the track, Clyde offers, "I heard the original Marty Robbins version of this song in 2023. Hearing it felt like a great clue in my search for meaning in love. It reminded me of the love that surrounds me in the natural world, and how it all lives within me as well. That love is accessible to me in every tree I touch, in every bird song I hear, in all the places I go, in the earth below me, the sky above me - it’s all a mirror to the love that lives within me, the love from my ancestors, from my past lives, my gods and my guides and beyond."
Clyde's previous single, "Man's World," was featured at FLOOD Magazine last month alongside a music video directed by Lukáš Hyrman, "which sees Clyde resigned to shielding herself from the vampiric patriarchal presence of the world beyond her doorstep." It followed lead single “Another Time," which gained recognition from Clash Magazine, The Line of Best Fit, OurCulture, Holler, The Bluegrass Situation, KLOF Mag, Glide Magazine, Exclaim!, and more. Clyde is also featured on the new album from Boy Golden (Best Of Our Possible Lives, out now via Six Shooter Records), who served as an integral collaborator on her own album and will be supporting her on tour in April and May.
Clyde will perform across the U.S. and Canada this spring in celebration of the new release, including an appearance at Treefort Music Fest on March 26, in addition to stops at Red Wing Roots and Winnipeg Folk Festival this summer. The upcoming shows follow Clyde's inclusion on the coveted 2026 Live List of "rising, must-see artists" from The National Independent Venue Association (NIVA). Please see below for full tour details.
Produced with Drew Vandenberg (Faye Webster, S.G. Goodman) and including a co-write with Courtney Marie Andrews, Clyde’s fourth full-length and first release with Concord arrives in a sonic overlap: the rockabilly grit of contemporaries like Sierra Ferrell, The Deslondes, or Nick Shoulders, meets the vulnerable, folk rock volatility of Big Thief or Angel Olsen. Throughout the 11-song set, Clyde looks to her indigenous Métis roots and invokes a deep reverence for nature in an effort to redefine her relationship with love in her life. The result is a trudge through the swamp and into vast, cleansing waters that finds Clyde at a critical point of personal evolution—equal parts despair, invocation, discovery, and celebration.
Clyde’s relationship with music began through a vent in the floor. “I’d lift the rug up to hear my grandfather playing his fiddle along to cassette tapes in the basement.” This was in North Ontario at summertime family gatherings, the best of which would culminate in impromptu family jam sessions. “I can’t really remember a time when I wasn’t singing.” After a fleeting, childhood stint with the piano, Clyde took on the guitar around age thirteen. “When I discovered Blues music, well, that changed my life.” The riffs of Lead Belly and Robert Johnson were too complicated for her small, preteen hands to master, but they inspired Clyde to write her own songs. She busked through adolescence, joined a punk band called Shit Bats in college, and recorded her first album in a friend’s basement before she graduated. Four full-lengths later, Clyde’s voice vibrates with that ferocious confidence of one who’s been doing this her whole life.
That sense of music as something lived, not learned, finds its clearest expression in how and where Clyde writes. The new songs exude nomadic independence: penned in her 1973 Boler trailer on a farm in Ontario, on a narrow boat in England, or in transit from one festival to another, letting lyrics stream freely from a jetlagged dream state. The result is uninhibited, raw, pure; it’s the sound of personal truth discovered in real time.
“Constantly being on the move, having to navigate new environments, it forces me to be present, and to confront my own feelings,” Clyde says. “You can’t hide behind comforts. You have to know exactly who you are, and what you want.”
